Thursday, March 31, 2022

Favorite (four), eighty-two

Just like in my other eighty-one posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Andrew Horn's Doomed Love
An incredibly unique American independent film that, simply watching it, seems to have had a massive influence on Hal Hartley and his hyper-mannered style.  I cannot recall a filmmaker achieving a more consistent lyrical quality in his or her work using less means than Horn employs here - painted sets, painted props, a handful of actors and not a single shot of the outside world.

Frederick Wiseman's Public Housing
Wiseman captures many sides of poverty and race in Chicago and begins to draw the characters and world that David Simon would only a few years later craft into his masterful series The Wire.  There are so many memorable scenes in this work that only further attest to the fact that Wiseman has a process and a temperament that enable him to reflect truths about certain sides of the American experience that no other filmmaker has been able to match.

Wim Wenders' Reverse Angle
There's a period of Wenders' work form 1974-1985, from Alice in the Cities to Tokyo-Ga, that is among my favorite of any director's films.  Sure, it didn't hurt that Wenders had Robby Muller alongside him for almost the entirety of the run, framing the world in poetic ways arguably as well as any cinematographer in the history of the medium.
John Scheinfeld's Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him)?
I always loved Nilsson's song in Midnight Cowboy but I had never delved into the rest of his work which I can now begin to tell you is surprisingly rich and rewarding.  A fascinating portrait for anyone like me that loves Dylan, Scott Walker, Rufus Wainwright and countless other singer-songwriters.   

No comments:

Post a Comment